Nigeria's remarkable new Museum of West African Art (Mowaa) has landed in the middle of local power politics during the time it was supposed to – but was unable – to welcome visitors to the public for the initial occasion.
The Ambitious Project
The 15-acre complex is located in the center of Benin City, administrative center of the southern state of Edo – and includes an archaeological dig and facilities created by celebrated Ghanaian-British architect Sir David Adjaye, best known for the National Museum of African American History and Culture that began operations in the US capital in 2016.
It has been five years in the making – and is designed to honor both the heritage and the present of artistic expression in the region known for the Benin Bronzes, historical pieces stolen from the city's royal palace by British soldiers in the 1800s.
Readiness and Potential
It is remarkable – and prior to the scheduled opening, Mowaa was active with staff committed to demonstrate it is a place that can match well-known museums and galleries in the Europe and America.
Within preservation experts meticulously revealed cultural items from protective packaging, inspecting each artifact and taking meticulous notes before placing them on exhibition areas and bases.
Specialists fine-tuned temperature regulation systems. In the scientific facility, officers calibrated devices intended to preserve centuries-old objects.
Investment and Economic Plans
The project has been the brainchild of entrepreneur Phillip Ihenacho – currently Mowaa's chief executive.
"I hope us to have a substantial economic benefit on area populations in the vicinity," he stated to media outlets, mentioning that he hoped to make this urban center "a cultural destination."
Mowaa, a non-profit Nigerian institution, sees itself establishing over 30,000 employment opportunities and providing above $80m per year to the local cultural industry through alliances and activities.
Investment and Administrative Problems
It has taken $25m to reach this point – funds gathered from various supporters, featuring the European governments, the British Museum and the regional authorities.
But at present the local government has pulled the rug from below it – revoking the occupancy of the land on which the museum was built.
An Edo state spokesperson stated this was because in the initial documents it had identified as Edo Museum of West African Art – and it had subsequently dropped "the state identifier" from its title.
Demonstrations and Government Action
This announcement followed protests on recently, when activists stormed the facility demanding it be named the Benin Royal Museum.
A rowdy assembly confronted overseas dignitaries at the venue ahead of the opening – requiring them to be quickly removed under police escort.
President Bola Tinubu has additionally become involved to try and resolve the dispute, establishing a special task force to address the controversy.
Administrative Challenges
But why has this evolved into so controversial – and such a reputation problem?
The majority of it comes down to local power struggles at a local state level, as it was the former state leader Godwin Obaseki – whose term in office concluded the previous year – who was a key supporter of the initiative.
And it appears the leadership of the new governor, a close ally of the local traditional ruler, called the traditional leader, may desire increased control in the initiative. The demonstrators on the weekend, for instance, were calling for that the museum be positioned under the supervision of Oba Ewuare II.
The Cultural Artifacts Debate
This brings into focus the contentious issue of the Benin Bronzes, one of Africa's most famous historical legacy.
Because even if the institution does ultimately begin operations, these artifacts will be noticeably missing.
They are metal, elephant tusk and timber sculptures that once adorned the royal palace of the ancient kingdom before British soldiers took them in the colonial era during a military operation.
Currently, thousands stay scattered across institutions in the West -- including the UK institution, Berlin's Humboldt Forum and the New York institution.
Return Initiatives
Their repatriation has become one of the most contested conversations in the worldwide cultural sector. Approximately 150 have currently made their way home – and additional are expected to return.
When proposals for the facility in Benin City were initially revealed in the pre-pandemic era, the influential figures on Nigeria's art scene anticipated it would become their natural home – a state-of-the-art campus to exhibit them to the world.
But the waters were muddied some time back after the national authorities declared that the Oba would be the rightful owner of any returned bronzes – and the palace pushed for a institution under the royal family's direct control, opposing the desires of Obaseki.
Strategic Positioning
This left Mowaa in a delicate position: maintaining a definite position on return while being careful on ownership – and stressing its broader vision, which led to|c
